Recuerdos del ayer

"We both know what memories can bring. They bring diamonds and rust." Abi • 37 • ♉ • games, music, and art • banner art by Jor Ros

[subaru-copilot]

it gets to a point that is just weirder if they didn't fuck

[subaru-copilot]

you did all this and it was not even because you wanted to bang him? weirdo

[nynevefromthelake]

Oh Lancelot, loved by the king, loved by the queen

Another Arthuriana idea I had for a while. Guinevere design is much inspired by William de Leftwich Dodge illustration

[goawfma]

i feel like we don’t talk about things like this enough

[haru-kuneko]

Reblogging this for the third time in celebration of African World Heritage Day ✨🌍🪘

[krookiecookie]

@landsharkrawr

[imaginarygirl1997-deactivated20]

Siberia, National Geographic 1990

[petrichor-mist]

lost in a purple haze~

[vetyr]

Colors vs Final Illustration <3

I wanted to give folks here a heads up that I've deleted my Redbubble account (they added a crappy fee structure + they've never been good at paying artists fairly), so if you want prints you should use my Inprnt. Thanks!

Commissions are currently open; email at [email protected] for inquiries.

[maudelynn]

The Rose and Butterfly ~ by Jacques Leclerc for La Vie Parisienne c.1929 

[tar0]

(Manet’s Bar at the Folies-Bergere (Getty Center Exhibitions)から)

[nyantara]

[…] the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter’s field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her. The barmaid’s frontality is also deceptive. Rather than standing parallel to the bar and looking straight ahead, she stands slightly askance, facing the offset viewpoint.

Most ironically, the reflected edge of the bar, which in an offset view would tilt more acutely to the right, is revealed to be a visual decoy, leading us to believe that the vanishing point lies directly behind the barmaid. Thus, the paintings most obvious perspectival clue turns out to be its most subversive perspectival violation.

Dr Malcom Park

[memories-of-ancients]

Bronze figurine of a tapir, China, 14th-17th century

from The Cernuschi Museum, Paris

[wiltking]

having an oc you're obsessed with feels good as fuck

[nemfrog]

The essence of astronomy. 1914. Book cover.

[parakeet]

[unchildhood]

SARA TEASDALE x JANG SI-YOUNG

‘Morning Song’, Flame and Shadow (1920);

ig _heodang, published 14 March 2019

[letterful]

“What would American poets and critics do without the Central Europeans and the Russians to browbeat themselves with?” Maureen McLane asks in a recent review in the Chicago Tribune. “Miłosz, Wisława Szymborska, Adam Zagajewski, Zbigniew Herbert, Joseph Brodsky—here we have world-historical seriousness! Weight! Importance! Even their playfulness is weighty, metaphysical, unlike barbaric American noodlings!” McLane takes aim at a critical commonplace now well entrenched among anglophone poets and critics. In anthologies, essays, and poems alike, the great Eastern Europeans of the century just past—Akhmatova, Mandelstam, Brodsky, Miłosz, Herbert, Szymborska, et al.—play the acknowledged, if unofficial, legislators to their unhappily marginalized, conspicuously unoppressed neighbors to the west. “Only here do they really respect poetry—they kill because of it,” Osip Mandelstam remarked to his wife at the onset of Stalin’s Great Terror. “More people die for poetry here than anywhere else.” There are advantages, needless to say, to coming from nations where poets are less highly rated. But to writers reared on the Romantic myth of the poet-Christ, the fate of Eastern Europe’s modern bards, besieged by history, persecuted by one repressive regime after another, must seem seductive indeed. Few writers have ever died of benign neglect.

— CLARE CAVANAGH, from Lyric Poetry and Modern Politics: Russia, Poland, and the West.

[thatartblog]

heartstrings I (2013) by selma alaçam

[litteraeignotae]

[anasabdin]

Conditions Apply [ 10 colors ]